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The records consist of the central administrative files of the Yale University Library, correspondence, memoranda, and reports dealing with all aspects of library business and historical photographs from library events. Records for the earlier years appear to be part of a central filing system for the library, while those in later years primarily reflect the activities of the university librarian's office.

Collection of black and white and color commercial postcards from the 19th and 20th centuries largely of buildings and architectural views worldwide.

The Papers consist of correspondence, writings, photographs, and personal papers documenting the life and work of Fedor Stepun as an émigré writer, educator, and political commentator. Principal correspondents include such famous Russian émigré writers as Nikolaĭ Arsenʹev, Ivan Bunin, Roman Gulʹ, I︠U︡riĭ Ivask, Michael Karpovich, Aleksandr Kerensky, Victor Leontovitsch, S. P. Melʹgunov, N. P. Poltorat︠s︡kiĭ, Leonid Rzhevskiĭ, Gleb Struve, Dmitrij Tschižewskij, V. Veĭdle, M. V. Vishni︠a︡k, Boris Zaĭt︠s︡ev, Lev Zander, V. V. Zenʹkovskiĭ, and Nicolas Zernov. Stepun was also in contact with noted German thinkers of his day, including Ernst Benz, Bernt von Heiseler, Max Horkheimer, Richard Kroner, Johannes Kühn, Thomas Mann, Zenta Maurin̦a, Paul Mildner, Carl Neumann, Ernesto Saemisch, Otto Taube, and Paul Tillich. There is also correspondence with a variety of other groups of people from his work as an editor, professor, as well as personal correspondence with friends and family.
The Writings consist of manuscript drafts, typescripts, and related publication material for a number of Stepun's major books and many of his shorter writings. All of Stepun's post-World War II books are represented here, including material for different translations. There are extensive notes and manuscripts of Stepun's lecture courses and individual lectures, papers relating to Stepun's participation in the Tolstoy Foundation and the Institut für Filmwesen, and a number of writings by such authors as V. I. Ivanov and Nikolaĭ Berdi︠a︡ev. In addition, the collection contains a number of photographs of Stepun his wife Natalía Nikolaevna Nikolśkaia and her family, and a portrait by émigré artist Sergei Ivanov.

The papers consist of correspondence, writings, and research files documenting Raymond Fuoss's professional career.

The collection consists of correspondence, writings, printed material and other papers that document the life and work of the poet Leonard Bacon. Correspondence is both professional and personal, and documents Bacon's writing and publishing activities as well as his personal and family relationships. Writings include drafts and proofs for many of his published works including Ulug Beg (1923), Lost Buffalo, and Other Poems (1930), The Furioso (1932), Dream and Action (1934), and Semi-Centennial (1939), as well as works translated by Bacon, such as Luis de Camões's The Lusiads (1950). Printed material includes several boxes of printed versions of Bacon's poetry and other writings, as well as pamphlets, reprints, newspaper clippings, and ephemera collected by Bacon. Other papers include three scrapbooks documenting Bacon's career from 1923 to 1946, as well as a small quantity of personal documents and photographs.

The Hanover Royal Music Archive consists of printed and manuscript music, printed books about music, and related materials assembled by Ernest Augustus, King of Hanover, and his successors. A significant component originated in England and concerns musical activity of several children of George III, circa 1770-1837, particularly Ernest Augustus, then Duke of Cumberland, and Princess Augusta, as well as Prince George of Cumberland, son of Ernest Augustus and later Georg V, King of Hanover. These materials moved to Hanover, apparently circa 1837 when Ernest Augustus succeeded William IV as King of Hanover. In Hanover, the collection was expanded by Ernest Augustus and Georg V, and much of the present content relates to music in the Hanoverian court through the mid-nineteenth century. While most materials date circa 1770-1870, a few items extend this span from the seventeenth through the mid-twentieth century.

Music, correspondence and other papers, photographs, and additional materials by and about the German composer Paul Hindemith (1895-1963).

Single manuscripts and small groups of manuscripts, including literary manuscripts, letters, and other documents. Materials are grouped under headings by author or corporate name.

The papers document the life and writings of Aleksander Wat, from his early poetry in the 1910s to the posthumous publication of his work by his wife Paulina and by Czesław Miłosz. Early material (prior to the end of the Second World War) is sparse and consists chiefly of correspondence, personal documents and photographs. Among the early material is documentation of the Wat's exile in Kazakhstan. Later material includes numerous notebooks that contain drafts of poetry and prose writings, and the audio recordings that formed the basis for his memoir Mój wiek.
The papers are of interest not only to researchers studying Wat's creative process and the context of his life, but also twentieth-century Polish literature, the relationship of authors to Soviet society, and the postwar Eastern European émigré literary community in France. Wat's repeated arrests and exile are documented in his notebooks, in personal papers, and in material related to his memoirs. His relationship to the émigré circle centered around the monthly Kultura in France is documented in correspondence with Jerzy Giedroyć, Gustaw Herling-Grudziński, Konstanty Jeleński, and Zygmunt Hertz. The posthumous success of his writings is documented in Paulina Wat's Correspondence in Series I, and in posthumously-dated material in the Writings series, which chiefly relates to the editing, translating, and publishing work of Paulina Wat and Czesław Miłosz.

The collection consists chiefly of correspondence with family, friends, and literary colleagues; and writings, accompanied by related material. There are smaller amounts of personal papers, printed material, photographs, memorabilia, and audio recordings. The material documents Wilder's life and work, in particular his career as a successful novelist and playwright.
Series I, Correspondence, consists of four subseries: Family Correspondence; General Correspondence; First Name Only and Unidentified Correspondence; and Third Party Correspondence. Wilder's correspondence with family members, notably with his sister Isabel, is extensive and contains much information on both his personal and professional activities.
General Correspondence consists mainly of letters received by Wilder and particularly documents his literary activities and public reception after the success of Our Town in 1938. Correspondents include Garson Kanin, Michael Myerberg, Vivien Leigh, Louise Talma, Max Beerbohm, Vincent Sheean, Gertrude Stein, Glenway Wescott, and Herberth Herlitschka.
Series II, Writings, contains excellent documentation of Wilder's works, including holograph and typescript drafts of all of his major writings; extensive materials relating to the production and adaptation histories of Our Town and The Skin of Our Teeth; and review and publicity files for both plays and novels. The series also holds drafts of many essays and lectures by Wilder, as well as copies of writings by others, most but not all Wilder-related.
Series III, Personal Papers, includes journals, autobiographical notes and notebooks kept by Wilder; numerous awards and honors bestowed on him; papers relating to his education and career as a university lecturer; research notes on Finnegans Wake; his military service papers; and some financial and travel records. Series IV, Printed Material, consists of newspaper clippings, pamphlets, and an extensive run of theater programs for plays attended by Wilder and his sister Isabel.
Series V, Photographs, primarily contains portraits of Wilder taken throughout his life, including some of his stage appearances and a variety of publicity shots. There are also photographs of family and friends and production photographs for several plays.
Series VI, Memorabilia and Other Papers, contains artwork, other realia, and musical scores by Louise Talma and others. Series VII, Audio Tapes and Other Recordings, consists of a variety of sound recordings received with the Wilder Papers, including interviews and readings. Series VIII, Thornton Wilder Papers Addition, contains a small amount of family correspondence received after the collection had been processed.